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Images, such as the similigravure developed by Charles Guillaume Petit 4 and that Marey employed for the majority of his images 5 (Figure 7.1, for instance). Beginning in the 1880s-the central years of Marey’s research-photographic printing evolved from engravings done by hand to photomechanical processes, as continuous images, such as photolithography, 3 or halftoneįigure 7.1 Etienne-Jules Marey, Le Mouvement (Fig.
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Through an analysis of the work of physiologist Etienne-Jules Marey and, more specifically, his fixed plate geometric chronophotography (see Section “Selecting the image”), this chapter addresses the less explored meaning of the expression “mechanical reproduction”, that is, the meaning linked to the automation of printing and specifically photographic prints. Although photographs became prototypical of the first sense of mechanical, they did not fall under the second until the 1880s, when new techniques, such as the Woodburytype and halftone photolithography, made mass printings of photographs practicable.
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In another sense, it refers to the “automatic” multiplication of images (which could be lithographs or engravings as well as photographs) so that they could be accurately, widely, and inexpensively disseminated. Must also be understood in context, a task made more difficult by the pervasive conflation of two conceptually and historically distinct processes via the single phrase “mechanical reproduction.” In one sense, the phrase refers to the automatic production of an image without the interventions of an artist. “The term ‘mechanical’”-Peter Galison and Lorraine Daston note.